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Andrey Zvyagintsev was discovered in Venice with ‘El regreso’ (2003), but Cannes immediately appropriated it. It is already the third time competing for the Palme d’Or; the last was for ‘Leviatán’ (2014), which earned him the Best Screenplay Award, and has also gone through Un Certain Regard. From a good start we identify it as a Tarkovsky for all audiences, which handles very powerful images, but it is not so deep, nor dense, and it shows itself capable of reaching an audience that is not extremely demanding, as some critics would be.

Zhenya and Boris had a son when they were very young, and they bought a flat. But now they hate each other to death, they have found happiness on their own (he has made a young girl pregnant, and she is involved with a rich man older than her, something different, in both cases) and they have forgotten the boy who cries secretly in the bathroom and who, meanwhile, disappears. The disjointed couple is forced to resort to the inefficient police and a kind of NGO specialized in missing persons.

The images that the Russian expresses are powerful, no doubt, and in large part thanks to his faithful director of photography, Mikhail Krichman, who has accompanied him since its inception. But his lack of subtlety makes him at times a master of the underline as Ken Loach, and this should be attributed to Oleg Negin, the award-winning screenwriter of ‘Leviatán’, with which he returns to collaborate. It would be said, for example, that in Putin’s new Russia, that of savage neo-capitalism, all women live absorbed in their motives, that they spend more time within the Apple World than in reality, and that therefore they are totally indifferent to what is happening. what happens around him, from the unwanted child to the Ukrainian War. The Russian man that represents Boris is not much better either, but he changes the odds and the nets for the fear of losing his job in a corporation that is ruled by orthodox rules, and is equally indifferent, both to the unwanted son and to the war of Ukraine. Once again, the intimate cracking of a couple reflects that of an entire society, only that we went from the coast with a beached whale to the big city.

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